Jane McConnell @janemcconnell  and @futureartists

May 8th 2012, Salford, UK

In Emily James’ Just Do It, we watch news packages from major news outlets interlaced with POV footage from protestors scaling the giant cooler chimneys at the Ratcliffe Power Station. For a UK audience, a film like Just Do It is particularly subversive – even controversial. The protests were decade-defining – it was the first time we saw a domestic conflict of interests play out in new and old media – with audiences truly divided. Were the news outlets biased? Who’s the hero, who’s the villain? And crucially, did we agree?

As any filmmaker will know, this is when it’s time to make a documentary.

Just Do It. No Dress Rehearsal. And here’s some titles from more shorts and features: Your State of Emergency. Young Hearts Run Free. Sound It Out.

Every title has an urgency – each stamping a precedent, a protest; striving and independence.

Or, if that’s a bit too high-flown, maybe at there’s at least a deliberate link between the present tense and activism. In the US, it’s caught the attention of the Academy this year via Marshall Curry’s brave documentary ‘If A Tree Falls’.

And in the UK (through crowdfunding and hey – the rather traditional own-funding,) the entire scene has found itself leaning towards political realism for reasons that affect our lives in the most obvious ways. With documentary and documentary-drama (see: Jason Wingard’s ‘Louise’ (2010) for example) taking precedent in screenings across the UK’s major cities every single month, are directors losing sight of fiction film as a vehicle for change? Are audiences no longer wanting escapist routes from which heroes soar?

Or, are directors, amid government-enforced arts cuts and increased taxes discovering that the only way to tell the story about any modern hero, is to tell the tales that are closest to home?

Case Study 1– Just Do It: A Tale of Modern-Day Outlaws (2010)

In Emily James’ Just Do It, we’re invited merrily into a world of social discord and disenfranchisement with capitalism. Emily James’ captures this in her film, following our 6 activist heroes-of-the-story as they protest with campaign groups Climate Camp, Plane Stupid, and finally to the headline stealing Ratcliffe Power Station protest – as well as featuring unflinching footage from the Copenhagen Summit in 2009.

The film’s tone is more exuberant than darkly political, and avoids the pitfalls of being overly solemn or weighty. A good thing really, when the typical representation of protestors in the mainstream media is one of violent ‘extremists’. A bright soundtrack, which provides the backdrop for friendly narration, animations, maps and crucially – unedited details on the nuts and bolts of staging a protest – are all freely portrayed in the film. Just Do It follows James, Lily, Sophie, Marina and we even get a glimpse of Emily – as they resist arrest, blockade the Royal Bank of Scotland and take action. Perhaps in this case, the heroes of the story have been saved from anti-hero ‘terrorist’ status – and are real people.

Case Study 2 – Invisible Circus: No Dress Rehearsal

Invisible Circus: No Dress Rehearsal by Naomi Smyth, documents a four-year labour of love and subversive artsquat and performance group that take over abandoned properties across Bristol – a city renowned for street art, and unfortunately for the group, large property developers. The hero of the tale is Doug Francis, the assumed lead of the circus – even though he would probably deny such a title. (Eitherway, he is the go-to man throughout the feature.)  The documentary movie tells an underdog story of guerilla art performers; a collective of travelling performers who turn something empty and abandoned, into a work of circus and burlesque art. There’s footage of audiences queuing around the block who heard from each other via text or word about an underground show – as well as messy footage of the stars of the show fighting city councils, landlords – and putting in hard graft to reclaim derelict, dirty spaces and transform them in the name of art for all. We learn that during Naomi’s four year journey – her role moves form being the documentarian, to being part of an art movement.

WATCH THE FULL FILM FOR FREE HERE VIA DAILYMOTION

Invisible Circus: No Dress Rehearsal – www… by futureartists

Are the Directors Heroes? Battling to get distribution

The ultimate struggle, it can be argued, for any filmmaker is getting people to care about the premieres are over. …No Dress Rehearsal’ has managed it – through decidedly independent means: pubs, pop-up venues and indie cinemas. This year, the film is crossing the pond to San Francisco – it’s just won the 2012 award for best film with a New York-based online distribution site, Dynamo. After laying low for a couple of years following it’s release, the film is now reaching brand new audiences throughout the world, working with the UK’s only independent film distributor, Future Artists. Interestingly enough, the distribution of Just Do It followed an equally subversive model. Screened in its near-complete state at Sheffield Documentary Festival in 2010, Emily James made the call for more funds to complete the movie. Then, after some serious crowdfunding, the film premiered, complete, at the following 2011 festival – to a standing ovation. It’s now screened all over the world, at pop-up venues, artsquat venues, indie cinemas and festivals. It even had it’s own “Recycled Red Carpet” event inside a reclaimed building.

Looking at the film this way, perhaps hero of these stories is the film director – actively promoting a film, irrespective of numerous failed bids to the now defunct UK Film Council thanks to a stream of extremely conservative public funding cuts made over the last two years.

We Could Be Heroes?

Recessions and credit crunches, it is often said, creates a surge in entrepreneurialism. Parallel to this, a cultural backlash to lower arts-funding in essence, leads to a stronger independent film scene. And weirdly, each film represents this as an entity.

Yet their appeal extends beyond the often tragic and serious narrative lines that often provide the blueprint for documentary film. The UK’s current trend for social realism has, whether deliberately or not, leaned towards that all-too-familiar hero’s narrative. Albeit, each film provides a rickety, handheld, yet proudly alternative (with a capital Alterative) story arc. There is an insatiable urge created within the audience of these films to wonder where the films’ thundering courses of action will lead to. But these courses of action are only set in motion as a reaction following, we believe, oppression by an assumed authority figure. In Just Do It, it is bankers and the police. In Sound it Out (2011, Jeanie Findlay), it’s the major record stores. In Your State of Emergency (2009, Mark Ashmore), it is the police and in …No Dress Rehearsal, it’s bulging property developers and arguably old-fashioned land laws that are guilty of perverting the course of our heroes.

A theme which links three of these films together, however, is the fear of a police state. In Just Do It, there is one rather revealing moment in which the UK’s sensitivity of an increased ‘police state’ shows the group not only turn their phones off – but take their batteries and SIM cards out their mobile phones to ensure they’re not tapped. The film makes every effort to show that protestors are, after all, human and subject to the same policing threat as any non-activist member of society. It’s this steady, playful tone, which allows the high-octane – and completely real – clashes between protestors and the police in the movie, to be the most memorable.

And yet in all the films, we find the real life captured within them throwing real-life enemies left, right and centre from all over the political spectrum. Many Uk directors such as the one metioned have successfully found their reactionary characters. And these characters are also the heroes – the ones who lead themselves and us exactly where we want them to: overcoming and moving beyond a domineering adversity – and often, government and financial corporations. And both the hero and the villain are completely unmasked, too, from start to finish.

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The documentary movie tells the underdog story of guerilla art performers – The Invisible Circus – and No Dress Rehearsal is set in Bristol, home to several major street artists (and reputedly once being the home of Banksy). Smyth takes us on a 4 year journey as the group takes over abandoned buildings, taken on huge property developers, battle city councils – and win them all over in order to host their once-in-a-lifetime shows.

Dynamo said that Smyth’s directing debut – which she also wrote and co-produced – will receive $500 USD, an associate membership in the International Documentary Association and membership to the Shooting People  – the world’s largest filmmakers’ network.

“To be sure she always remembers this moment of greatness, Naomi will also receive an engraved trophy and a very sharp Dynamo baseball hat,” they said.

Naomi said of the win: “I’m really thrilled to win the Dynamo Doc award. The Dynamo team has been a pleasure to work with and I’m proud to have them host my film.

“It means a lot to get this recognition and the quote on their winners webpage was pure poetry- it showed me that they really got what my film is for- to ‘inspire the artist and surprise the skeptical pragmatist’.”

Established just this year in celebration of the video-on-demand format, the Dynamo award is given annually to a movie director whose work ‘best encourages excellence in documentary filmmaking’, while introducing the online audiences to alternative, high-quality independent films that are available online.

No Dress Rehearsal is being distributed by Future Artists –the only UK film sales agent outside of London that focuses on VOD platforms and the future of film.

Mark Ashmore, MD of Future Artists, said: “We’re extremely proud of Naomi and her film – this is just another perk of being part of a project that went beyond to deliver a real insight into community art and social activism at its finest.

“If you own your own market place and you’re the only supplier of your content then that makes it easier to sustain and support your own art.

“Dynamo allows you to be author and distributor of your own work without gatekeepers who take a cut, and all the online audience can be directed to one place.  It’s allowed Naomi as an independent director to get to a global audience of millions, shared via Facebook, Twitter, blogs and Dynamo itself.”

Http://www.invisiblecircusfilm.com

The award is honoured by Dynamo, the International Documentary Association and Shooting People – the world’s biggest film and TV industry network.

This course is designed for independent filmmakers and artists determined to get their work seen widely, create social impact, and earn a living in the digital age. Leading distribution strategist and President of Paradigm Consulting Peter Broderick, and Sandi DuBowski, Director/Producer of Trembling Before G-d, Producer of A Jihad for Love, and Outreach Director for The Good Pitch, will present this two-day workshop.

Public Presentation – Making and Raising Money Online

The workshop will be followed by a special public presentation at the Rio Cinema on July 4th. “Making and Raising Money Online” will be designed for workshop participants, as well as those who are unable to attend. Peter and Sandi will give a unique overview of the new models that filmmakers are using around the world to maximize revenue and audience.

More info on how to apply: www.sheffdocfest.com/view/seizethefuture

Filmmakers today must think about audience engagement from day one.

What are the best strategies for building an audience both online and off? What’s a fair offer, and what are some of the myths around distribution? What are possibilities for self-distribution? What’s all this talk about transmedia and participatory audiences?

Brian Newman will help you think about a range of plans for your film and workshop distribution plans for some films in the audience – as a group, because the audience is also the expert.

Regardless of your approach to distribution, knowing your audience and the best strategies to engage them is crucial. After all, you aren’t just building an audience for your film, you’re building a fan base for your future.

Brian Newman is the founder of sub-genre consulting, helping filmmakers and organizations to distribute content and connect with audiences through innovative uses of new technology. Brian was most recently CEO of the Tribeca Film Institute, and has been the executive director of Renew Media and IMAGE Film & Video Center. He speaks regularly on new media, audience development and the future of the industry, and contributes to a blog on these subjects at Springboardmedia.

Presented by Shooting People & DCTV

Mon, 02/22/2010 – 7:30pm

DCTV, 87 Lafayette Street, NYC

$8 DCTV & Shooting People Members

Get tickets in advance as the masterclasses tend to sell out.

Are you confused about all the different digital options when it comes to distribution for your film? You are not alone! The web has given us many more opportunities for getting our films in front of audiences but it can be a minefield for filmmakers trying to navigate the new terrain.

Join us for a masterclass with Matt Dentler, head of programming and marketing for Cinetic Rights Management (CRM). Dentler will explain the latest in digital distribution and what he looks for when seeking films to distribute. He’ll also gaze into his crystal ball and tell us what to expect in the future. If you are currently making or distributing a film you can’t afford to miss this. It’s the perfect start to a new year of savvy filmmaking!

About Matt Dentler & Cinetic Rights Management:

Matt Dentler is the head of programming and marketing for Cinetic Rights Management, a New York-based company that releases independent films into the digital marketplace on broadband and cable VOD worldwide. Prior to that, he spent five years producing the SXSW Film Conference & Festival in Austin.

Through its label “FilmBuff,” CRM brings audiences the latest, greatest and classic festival favorites from around the globe. FilmBuff delivers the festival and arthouse experience to audiences via portals such as iTunes, Hulu, Netflix, Amazon, SnagFilms, Time Warner Cable, Comcast, and more.

Monday, January 11th, 7:30pm
DCTV, 87 Lafayette Street, NYC

Tickets available via Brown Paper Tickets – just $8 for Shooting People members!

Download it free here.

Since then he has created a distribution union of many leading p2p sites ( The Pirate Bay, Mininova, Miro, TorrentFreak, Isohunt, Plube, OneDDL, Vuze, Frostwire and others) whose accumulative daily users top 40 million. They have agreed to promote one VODO film a month on their front pages. This means that free complete copies of the films will be released to all these site and VODO, which is short for voluntary donation, will collect all and any donations which are given as a result.

The project went live with Ivo Gormley’s documentary “Us Now” as the first test. The film achieved 100,000 downloads in the first four days and a bunch of attention, which ain’t bad at all. VODO is backed by the Arts Council, The Channel 4 BRITDOC Foundation, Emerald Fund and Goldsmith’s College. Shooting People is coming on board as a strategic partner, offering engagement and support for a number of reasons:

We applaud these kinds of distribution experiments which are driven by a love of independent content and a desire to make the work of independent filmmakers (rather than mega bucks for corporate entertainment conglomerates) sustainable in the digital era. We wanted to give Jamie our public support.
VODO needs quirky, smart and adventurous filmmakers to consider using this approach. Shooting People has loads of those.
We wanted to stay close to the results, lessons and new ideas that will come out of this experiment and be able to share that with the community. Can P2P sites drive large audiences to new work, not just famous titles? Can a donation culture be developed amongst those who are no longer paying for content up front? How many downloads are needed to trigger one donation? Is it possible to build a fan base for filmmakers this way? Can you sell content to TV stations after they have been a pirate hit? There are many important questions here that can only be answered by sucking and seeing.

So please go to VODO.net to find out more: www.vodo.net